I travel the world, and I'm happy to say that America is still the great melting pot - maybe a chunky stew rather than a melting pot at this point, but you know what I mean.

If you don't have a basis on which to make the choice, then you don't have a style at all. You have a series of accidents.

There's almost no content in terms of language at all. I don't like using language to convey meaning. I'd rather use images and music.

I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

It doesn't need to be imagined, it needs to be written down.

I don't think I'm capable of making radical changes, but over a period of four or five years you can perceive very big changes, and they seem rather small at the time.

The generation of composers that are just preceded me, people like [Karlheinz] Stockhausen, [Pierre] Boulez, and, well, [John] Cage for that matter,[Morton] Feldman ... That was a kind of experimental music that was very isolated. It had no real public.